Arch Daily |
- Israeli Pavilion at 2018 Venice Biennale Explores the History of Negotiations Over Holy Lands
- Aqwa Corporate / Foster + Partners
- House VG Renovation / ES-arch
- Celebrate International Museum Day With These Exceptional Museum Designs
- HOW Art Museum / Ares Partners
- An Engineer's House / ESSTEAM
- TA-THA-TA Studio / ASWA
- Galleon / Studio Adjective
- The Line Lofts / SPF:architects
- Canyon House / Paul Hirzel
- Francis Kéré to Design New Pine Log Pavilion for Tippet Rise Art Center
- House in San Marino Funes Hills / Mariel Suárez
- 61 Winners Announced for 2018 RIBA London Awards
- Pujol / JSa
- Will Alsop: “That’s the Art of Architecture—Putting Everything Together in Your Own Way”
- Topping Rose House / Roger Ferris + Partners
- 7 Architects Create 7 New Community Spaces Beneath a Disused Japanese Overpass
- Kjellander+Sjöberg Wins Competition For a New Sustainable Landmark in Sweden
| Israeli Pavilion at 2018 Venice Biennale Explores the History of Negotiations Over Holy Lands Posted: 17 May 2018 09:00 PM PDT  © David Polonski As part of our 2018 Venice Architecture Biennale coverage, we present the proposal for the Israeli Pavilion. Below, the participants describe their contribution in their own words. In Statu Quo: Structures of Negotiation is the theme of the Israeli Pavilion at the 16th International Architecture Exhibition, La Biennale di Venezia. Curated by Ifat Finkelman, Deborah Pinto Fdeda, Oren Sagiv and Tania Coen-Uzzielli it traces the complex mechanism of the 'Status Quo' within shared holy places in Israel-Palestine, which functions as a controversial and fragile system of coexistence.  © David Rubinger In the 21st century, in which religion has once again become the basis for the creation of local and global communities and tensions, the territory of the Holy Land, the cradle of the three monotheist religions, has become a critical case. The term 'Status Quo' refers to the codes that govern holy places shared by different religious groups. Initiated by the Ottomans in the mid-nineteenth century, later advanced under British and Jordanian rule, and still in use today by Israel and the Palestinian Authority, it requires whoever is in power to maintain a delicate web of negotiations and agreements that allow contested sites to operate in their daily routines.  © Adi Gilad  © Ori Orhof In Statu Quo: Structures of Negotiation offers a contemporary reading of this unique, dynamic and ever-challenged phenomenon and its impact on the local landscape. The exhibition focuses on five major holy sites, each highlights a different theme while bringing together various scales and spatial formations: "Choreography" traces rituals—religious or mundane—as protocols in space and time in the Church of the Holy Sepulchre (Jerusalem); "Project" outlines the ongoing negotiation over the Western Wall Plaza (Jerusalem) through architectural speculations; "Scenography" looks at the Cave of the Patriarchs (Hebron/Al-Khalil) as a space in transition where simple objects are used, just like stage set elements, to define the changing identity of the place; "Landscape" considers Rachel's Tomb (Bethlehem) as a landscape in the making, a palimpsest written and re-written through current events; and "Ascent" presents the Mughrabi bridge going up the Temple Mount/ Al-Haram al-Sharif/ Al-Aqsa as a temporary infrastructure, framing the charged status of the place. By these distinctive observations, In Statu Quo reveals the spatial and temporal strategies through which places in conflict manage to retain their modus vivendi. It further suggests the critical role of architecture in these complex and highly disputed territories. __the_Wailing_Wall__1980%E2%80%9382._Source_'Metaphors_and_Allegories-_Superstudio_Firenze'__Israel_Museum_Jerusalem__spring_1982.jpg?1526437624 "Courtesy of Metaphors and Allegories- Superstudio Firenze") Courtesy of Metaphors and Allegories- Superstudio Firenze  This posting includes an audio/video/photo media file: Download Now |
| Aqwa Corporate / Foster + Partners Posted: 17 May 2018 08:00 PM PDT  © Nelson Kon
 © André Nazareth Text description provided by the architects. The Aqwa Corporate Project is a Class A commercial office development along the waterfront in Rio de Janeiro, Brazil, strategically located at the heart of the Porto Maravilha urban regeneration district. Situated within a landfill zone dating back to the 20th Century, the project is part of an extensive land reclamation in the historic port area of the city. Throughout its history, the area has been integral to the city's development and is where choro and samba music was born.  © André Nazareth  Site Plan  © André Nazareth The site is also close to the port region of Rio, which has been isolated for many years by the raised 'Perimetral' highway. As part of the masterplan, a portion of this route has been demolished, reintegrating the port – which still receives thousands of visitors every year – with the rest of the area. It will also restore parks, squares and other public spaces throughout the district while rationalizing the traffic flow and introducing new retail, commercial and civic spaces to create a vibrant district in the heart of Rio.  © André Nazareth The site is bounded by the newly established Av. Rodrigues Alves urban expressway to the north, and the Avenida Binário to the South, with excellent connections to public transport via a new Light Rail Station to serve the site. At the heart of the project is the grand central plaza – a vibrant pedestrian public realm with a linear retail arcade, recreating the street‐based civic experience of this former light‐industrial port area.  © Nelson Kon All sites along the northern edge of the masterplan area facing the water are also required to have a 'linear park' – an area with mixed landscaping that provides a continuous buffer zone along the Rodrigues Alves Expressway. A 400-meter long linear park abuts the site, establishing a landscape corridor alongside the sea facing the retail arcade. This includes bike lanes, pedestrian paths, and landing zones at different levels to create a visual-sound barrier that shields the site from the expressway while retaining views towards the Guanabara Bay.  © Nelson Kon  Longitudinal Section  © Nelson Kon The 22-storey, twin-building development has a phased construction programme, and consists of 125,000 square meters of office space, with retail and public spaces at the base. Vehicular parking is provided in a five-level basement, with dedicated access ramps serving both buildings. The entrance lobby to each building has been lifted above the central public plaza, with views towards the port and Guanabara Bay.  © Nelson Kon Three escalators rise up from the central plaza to the building lobbies, in addition to the elevators from the basement levels providing access from the car park. The service cores and circulation have been planned such that up to four sub-tenants can occupy each floor. Soft-spot slab zones for vertical interconnections and internal stairs have been incorporated into the plan. Clear floor-to-ceiling heights to all office floors have been optimized at 2.85 meters. The main structure consists of the in-situ concrete slab with metal deck support with the raised lobbies as a suspended steel cantilever.  © Nelson Kon The development has been designed to achieve LEED ASHRAE Gold certification. The project responds to the particular local tropical climate by establishing an enhanced self-shading strategy to the building elevations as well as providing effective sun protection and rain cover in all the principal open-air public circulation and amenity spaces. The design has been essentially conceived as a pedestrian-friendly, fully accessible, public realm, with the central plaza as the civic focus for the whole project. Both building entrances frame the plaza and are easily recognizable from all public access ways serving the site.  © André Nazareth  Ground Floor Plan  © Nelson Kon  This posting includes an audio/video/photo media file: Download Now |
| Posted: 17 May 2018 07:00 PM PDT  Courtesy of ES-arch
 Courtesy of ES-arch Text description provided by the architects. It is a project on a rural building of the '20s-'30s flanked by a building dating back to the '70s, not at all consistent with the context.  Courtesy of ES-arch The existing volumes have a facade facing south while the rest of the building borders with other properties and is therefore completely closed.  Concept The theme of the contiguity of the volumes, also traceable in spontaneous rural architecture, becomes key in the design process.  Courtesy of ES-arch This proximity means that the perception of buildings is absolutely different depending on the point of view. Very close volumes seem to merge into a single entity. The main intent is to build the project by adding as little as possible.  Courtesy of ES-arch The project takes note of the definition of the two volumes; on the one hand, the tall building with the two-pitched roof, on the other, the low building with the roof terrace. The project builds a linear parapet that closes the rectangular geometry of the facade.  Courtesy of ES-arch Close to the opening where the access stairs to the first floor are inserted, we worked with the desire to make clear the slight separation between the two volumes. The retreat of the parapet for the width of the staircase and the partial wood cladding become functional to the perception of the measured detachment.  Courtesy of ES-arch A new wooden box protrudes to a small extent on the second floor, clearly defining the composition of the façade.  Courtesy of ES-arch The main theme of the project is to transform elements that are considered disturbing in quality elements, returned to the community with new values and meanings. The project is superimposed on the existing building, operating a limited set of modifications, in such a way as to return a new, unitary and balanced image.  Courtesy of ES-arch A forgotten building is regenerated through architecture; the landscape is transformed through the acquisition of a measured intervention, charged with new meanings.  This posting includes an audio/video/photo media file: Download Now |
| Celebrate International Museum Day With These Exceptional Museum Designs Posted: 17 May 2018 05:00 PM PDT  Not all architects get the opportunity to design a museum. Between budget, scale and factors external to the field of architecture, designing a museum--and actually getting it built-- may mark the pinnacle of one's professional trajectory. To celebrate International Museum Day, we have compiled some of the most relevant and notable museum projects published on ArchDaily over the past year. Site Museum of Paracas Culture / Barclay & Crousse Imagem cortesia de Barclay & Crousse Iberian Museum / J.L. López de Lemus, Harald Schönegger, Ignacio Laguillo & Luis Ybarra © Fernando Alda Moreira Salles Institute / Andrade Morettin Arquitetos © Nelson Kon Zeitz Museum of Contemporary Art Africa / Heatherwick Studio © Iwan Baan Damião de Góis Museum and the Victims of the Inquisition / spaceworkers © Fernando Guerra | FG+SG Kunsthalle Mannheim Building / gmp Architekten © Hans-Georg Esch ICA Miami Museum / Aranguren&Gallegos Arquitectos © Iwan Baan Chongqing Tiandi Art Museum / Shenzhen Huahui Design © Zhi Xia Son Yang Won Memorial Museum / Lee Eunseok + KOMA © Joonhwan Yoon The Palestinian Museum / heneghan peng architects © Iwan Baan Mercedes-Benz Museum / UNStudio © Eva Bloem Lillehammer Art Museum and Lillehammer Cinema Expansion / Snøhetta © Mark Syke Fort Worth Museum of Science and History / LEGORRETA © Lourdes Legorreta Xie Zilong Photography Museum / Regional Studio © Arch-Speaker - Li Yao Zhujiadian Brick Kiln Museum / Land-Based Rationalism D-R-C © Guangyuan Zhang  This posting includes an audio/video/photo media file: Download Now |
| HOW Art Museum / Ares Partners Posted: 17 May 2018 05:00 PM PDT  © Dirk Weiblen
 © Dirk Weiblen Text description provided by the architects. HOW Art Museum is located in ZhangJiang Hi-Teck Park at Pudong Shanghai. Occupying three levels of the podium floors within the existing HOW Art Hotel building, this 7000sqm Contemporary Art Museum includes a 4200sqm Exhibition space and an about 2800sqm space of supporting service area. The Museum entry hall at the west side of the hotel building is a new addition. To echo with the existing glass curtain wall, this new addition takes on a simple architecture form. The new addition hall way is a transitional space between the exterior sculpture park and the interior Gallery space as well as a link between the Art Hotel and the Museum. The 22 meter long rectangular form takes one single bend in correspond to the existing podium building shape.  © Dirk Weiblen The translucent U Channel glass brings light softly into the reception area during the day and illuminates during the night. In contracts with the light and air translucent glass channel, white enamel metal panel wraps the roof and façade as one stroke. Visually it anchors the form down to the ground. The white enamel metal panels extend into the interior of the reception area to form a coherent pure white space.  Section After passing through this long and pure entry hall way, you are in an eight meter high vertical space which creates a sense of readiness before start viewing the exhibited art pieces. By entering a formal "white box" adjacent to this vertical space, it demarks a starting point.  © Dirk Weiblen In order to maximize the ceiling height for the gallery space as well as giving flexibility to art exhibition, an open grid ceiling is introduced. Hardened concrete flooring material is used for the Ground floor exhibition space and laminated wood flooring is used for the 2nd and 3rd floor Gallery space. The design of the museum interior takes a minimal approach. It allows all art pieces and products to be fully expressed in this space which also encourages an acute dialogue between art piece and viewers as much as possible. The 3rd floor level houses HOW Art center which includes HOW store, HOW library and a small Gallery space. Another "White box "insets at the exit point of the HOW Store which marks the end point of the viewing journey.  © Dirk Weiblen The design is try to minimize a sense of Form but emphasize on detail and preciseness. The now opened HOW Art Museum is the only Private Museum in shanghai which also opens during night time. Together with HOW Art hotel, HOW Art center and HOW Sculpture Park, it soon to be a must see landmark in Pudong Shanghai.  © Dirk Weiblen  This posting includes an audio/video/photo media file: Download Now |
| Posted: 17 May 2018 03:00 PM PDT  © Ishita Sitwala
 © Ishita Sitwala MEET THE ENGINEER  © Ishita Sitwala THE SPATIAL STRUCTURE
THE PHYSICAL STRUCTURE  © Ishita Sitwala  Ground Floor  © Ishita Sitwala THE INSIDE, THE OUTSIDE AND THE IN-BETWEEN - THE LOUVERS  © Ishita Sitwala
EXPLOITING THE DAYLIGHT  © Ishita Sitwala THE ELEVATOR TO HEAVEN  © Ishita Sitwala LET THERE BE LIGHT  © Ishita Sitwala THE EVOLVED MAHARAJA FAN  © Ishita Sitwala APPROACH TOWARDS THE FURNITURE DESIGN  © Ishita Sitwala THE GROWING GREENS  © Ishita Sitwala LESS IS MORE  © Ishita Sitwala  This posting includes an audio/video/photo media file: Download Now |
| Posted: 17 May 2018 01:00 PM PDT  © Phuttipan Aswakool
 © Phuttipan Aswakool Text description provided by the architects. ASWA (Architectural Studio of Work - Aholic) realized a studio with a collaged metal mesh façade for TA-THA-TA, a functional but playful Thai brand bag, in Bangkok, Thailand. The project holds a 120 m2 with 3.5 floors where first floor occupied by stocks. On second floor was used for assembling and a studio located on third floor with mezzanine level for rest space.  © Phuttipan Aswakool The small and narrow site has an existing big tree in the front of the property that contributes shading and great view for studio. With 4 meter width, the studio with a high gable roof tends to deflect the sun heat and provided extra and relaxed space for studio. Due to the limitation, a toilet is located in the middle of stairway to allow natural ventilation for every floor  Section A Variation of metal meshes was selected as a main material for a collaged façade which refers to TA-THA-TA's identity which is collaborated design between architect and client. By providing a pattern outline, from architect and client selected a mesh pattern to complete a design. A full height window behind façade of studio and assembly area overlooks a variation pattern and serenity of a big tree. For interior decoration, ASWA providing space and materials finished, and furniture completed by TA-THA-TA to showcase their genuine identity.  © Phuttipan Aswakool  This posting includes an audio/video/photo media file: Download Now |
| Posted: 17 May 2018 12:00 PM PDT  Cashier. Image © Studio Adjective Ltd. ＆ Dick Liu
 © Studio Adjective Ltd. ＆ Dick Liu Text description provided by the architects. Hong Kong architecture and interior design studio STUDIO ADJECTIVE joined hands with the local furniture group CRMG for the first time to design its first lifestyle concept store "GALLEON". Located in 9 Kingston Street, Causeway Bay, the two-storey store occupies an area of 5,800 sq. ft., and brings together over 30 leading and creative design labels from Scandinavia, Europe and Japan. STUDIO ADJECTIVE strove to create a exhibition-like new destination for customers to discover artistic lifestyle products in a cosy environment.  © Studio Adjective Ltd. ＆ Dick Liu STUDIO ADJECTIVE adopt the concept - "Wood - Detail and Craftsmanship" to reflect the close link between furniture and the fundamental material of furniture - Wood. From the interior décor, façade and the overall layout, to the custom-made displays, every detail embodies the different use of wood that takes the material to a new level. The store is transformed into a wooden stage where the furniture would be able to shine, allowing customers to embark on a journey of aesthetic discovery, while admiring the team's respect and attention to design through the refined details.  © Studio Adjective Ltd. ＆ Dick Liu  Diagram. Image Courtesy of Studio Adjective  © Studio Adjective Ltd. ＆ Dick Liu On the first floor, a series of connective platforms were built and combined the service counter with wooden staircase, and eventually becomes a linked pathway to the second floor. The platforms were also extended to become furniture display around the front of the service counter. Meanwhile, the staircase leads customers to the trendy homeware zone upstairs, subtly dividing the homeware zone and furniture zone without disrupting the overall flow.  © Studio Adjective Ltd. ＆ Dick Liu STUDIO ADJECTIVE has transformed the paper-wood developed by the Japanese brand Plywood Laboratory into different shelving and cabinet designs. Handmade in Hokkaido, the paper-wood is made of thin layers of locally produced plywood wood and recycled colour papers. The meticulous craftsmanship gives the material a beautiful profile and section. STUDIO ADJECTIVE created the display shelves and service counter by using the material so that customers can enjoy and appreciate the detail use of wood in the project.  © Studio Adjective Ltd. ＆ Dick Liu  This posting includes an audio/video/photo media file: Download Now |
| The Line Lofts / SPF:architects Posted: 17 May 2018 10:00 AM PDT  © Bruce Damonte
 © Bruce Damonte Text description provided by the architects. The Line Lofts, is an 82-unit residential building located in one of Los Angeles' most active development corridors. Situated along Las Palmas Avenue just steps away from Hollywood and Highland, the six-story project infills an 182-foot x 127-foot lot to become the tallest new construction in the neighborhood.  © Lauren Moore Given the constrained dimensions of the site, which is closely flanked by three buildings, SPF:a needed to rethink the traditional floor plan. The architect worked closely with the client and Los Angeles-based developer Integrated Development to create a collection of well-lit and well-articulated apartment spaces.  Podium Level  © Bruce Damonte  Upper Level  © Bruce Damonte To do this, the building abandons the standard filing cabinet layout, taking on a C-formation and dispersing its circulation space in an unconventional, but far more fluid way. Vertical multi-floor connections are provided at various elevations, with the second and third floor linked, the fifth and sixth joined, and the open-to-sky "courtyard" merged with the sixth. This multi-level communication provides a visual variation among the floors and removes any feeling of sameness or repetition that can be relatively unpleasant for those living in apartment buildings. Moreover, the plein air architectural circulation creates "moments" within passages that are traditionally ignored. Egress stairs have also been moved to the exterior to free up interior space and encourage residents to use the stairs as alternative building circulation.  © Bruce Damonte SPF:a worked closely with the developer, Integrated Development, on the amenity spaces, which include a workspace and wet bar in the lobby, a courtyard pool, and a pool lounge recreation room with floor-to-ceiling glass walls that allow the interior to visually flow into pool area. A sky lounge tops the building offering views of the Hollywood Hills and the Los Angeles skyline. This area was designed with a contemporary, exposed foyer that strengthens the interior-exterior relationship while also allowing for the architecture of the building to frame the sky.  © Bruce Damonte Similarly, units have been designed to optimize natural light and engage with surrounding views. Each apartment features oversized windows, glass sliders, and an atrium-like balcony. By recessing the balcony from the facade, SPF:a was able to expose three sides of the exterior space which amplifies the entering light. Street- and courtyard-facing units are partially shrouded with perforated screens to allow for increased privacy without the need for curtains.  © Bruce Damonte "The goal was to get light as deep into the spaces as possible," says Zoltan E. Pali, FAIA, SPF:a's founder and design principal. Adding, "Details we would normally implement in a custom home, we tried to achieve in these apartments. We wanted to improve upon the rigid living environment that's typically associated with multi-family residential buildings."  © Bruce Damonte Budgetary constraints played a role in materiality, pushing the architects to think creatively about how off-shelf products could bring the cost of construction down and reflect a custom look. Although the first floor of the building is concrete, floors two through six employ prefabricated wood framing. By using a wood frame, the architects reduced costs and shortened the construction schedule.  © Bruce Damonte The main facade uses a combination of corrugated metal and plaster, alternated to create an animated pattern. Pali saw an opportunity to create a composition with the smoothness of the plaster and the roughness of the metal, the latter of which boasts a metallic finish that reflects the changing hues of the sky throughout the day to give a sense of a building always in flux. The metal panels were designed as a rain-screen system which provides for a more breathable and energy-efficient exterior skin.  © Bruce Damonte Notably, the unit distribution places lofted apartments on both the ground and top floors. By creating double-floor units on the first floor, the spaces are opened up and afforded more light and privacy, making what are typically less coveted units, prime apartments. The updated ground-floor programming also serves individuals who work from home and have frequent guests as well.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 17 May 2018 08:00 AM PDT  © Art Grice
 © Art Grice Text description provided by the architects. The Canyon House. The owners (Ken Campbell, a professor of veterinary Physiology at Washington State University and his spouse Jean Campbell, an attorney) wanted a year-round retreat "to cultivate the spiritual aspects in the trinity of human, fish, and river" (their words). A place to write, sleep, talk, eat, read, fish, cleanse, garden and wander……. away from their work in Pullman, Washington – 50 miles from the site. Also, they wanted a wilderness place for their grandchildren to visit.  © Art Grice  Ground floor plan  © Art Grice Intentions: The retreat program was divided into two buildings: "the bunkhouse" is settled into a ravine along a seasonal stream and "the studio house" is perched on a finger ridge where a slope of bunch grass and Idaho fescue meet a Ponderosa Pine forest about 300 feet above the Clearwater River. The program was separated to encourage wanderings on the site and to create a triad of destinations.... the third destination is a perfectly shaped basalt knoll that provides a commanding observation point of the canyon. We resisted siting the house there, as it seemed appropriate to let it remain an "outside place". The location of the studio house was determined by where you would have the best fish sighting. To use the owner's words, "to mark the holding spot of steelhead for 200 yards in the fishy looking run along the river's south bank".  © Art Grice The form of the studio house is a simple rectangular box inserted into a moment resisting wooden frame. The frame and box follow the ridge slope and a bridge extension provides access to path that leads to the bunkhouse. The west side of the frame is a brise-soleil that provides access for window washing and support for removable perforated sliding panels- for shading and wind protection. On the east side, the frame supports decks and a screened porch with an outside shower. Strategically placed operable windows on all four sides of the studio house allow updraft ventilation as summer temperatures in the canyon often reach over 100 degrees. Transparency increases (amount of glass) as the building steps down the slope toward the river... in a sense, giving the illusion that it is "taking off" from the ridge. The "lines" of the studio house contrasts the 30% slope of the site that is mirrored by the strong roof incline with the orthogonal frame of strong verticals and horizontals (a distant derivative of some of the mining structures in the canyon).  Sections Where the studio house is about exposure/transparency (windstorms often blast the canyon with 70mph gusts), the bunkhouse is a place to seek refuge. Tucked into the folds of a ravine about 300 yards away from the studio house, its east and west facades have small windows that frame views of microenvironments - a rock fall, a Hawthorne thicket, etc..... The south wall is entirely glazed and opens to a walled terrace built into the hillside with a stair that leads you up the ravine and out of the canyon. The north wall has an inclined "earth- sky window" for watching the soaring bird life and river below.  © Art Grice  This posting includes an audio/video/photo media file: Download Now |
| Francis Kéré to Design New Pine Log Pavilion for Tippet Rise Art Center Posted: 17 May 2018 07:00 AM PDT  Interior view of Pavilion designed by Francis Kéré at Tippet Rise Art Center in Montana. Image Courtesy of Kéré Architecture Tippet Rise Art Center has announced the commissioning of architect Francis Kéré to design a 1,900-square-foot pavilion for the center's 10,000-acre grounds in Montana, USA. Envisioned as a "communal gathering space nestled among a cluster of aspen and cottonwood trees," new renderings by Kéré Architecture depict the scheme featuring a locally-sourced log canopy. The scheme can be read as an evolution of Kéré's canopy structures designed for the Louisiana Museum of Modern Art near Copenhagen, and his 2017 Serpentine Pavilion in London.  Exterior view of the Pavilion designed by Francis Kéré at Tippet Rise Art Center in Montana. Image Courtesy of Kéré Architecture The scheme was inspired by the traditional "togunas" of Mali's Dogon culture, featuring sacred shelters with wooden pillars, and layers of wood and millet straw to form a roof. In tandem with the pavilion's construction, the Tippet Rise Fund and Sidney E. Frank Foundation are also supporting the construction of Francis Kéré's newly-designed school in Burkina Faso, inspired by the architect's dedication to sustainability, and scheduled to be completed in 2019.  Circular aerial bridge that is part of the Pavilion designed by Francis Kéré at Tippet Rise Art Center in Montana. Image Courtesy of Kéré Architecture The Tippet Rise Pavilion consists of ponderosa pine and lodgepole pine logs, arranged in a round structure to create a "rain of light" effect, and sitting across the path of a circular bridge spanning an adjacent stream. The bridge features a number of seating areas positioned to accentuate views across the water, meadows, and hills, while sensitively touching the ground at only two points.  Model of the Pavilion designed by Francis Kéré at Tippet Rise Art Center in Montana. Image Courtesy of Kéré Architecture The pavilion also features strategically-orientated seating beneath the canopy, where visitors can "gather quietly to converse or contemplate the views or climb onto a platform sculpted on top of the canopy to observe the landscape through the leaves." The form of the seating area was inspired by a series of paintings created by Tippet Rise co-founder Cathy Halstead based on the lyrical, abstract forms of microscopic life, communicated through the irregular looping of the pavilion's seating.
 Sketch by Francis Kéré of the Pavilion that he is designing at Tippet Rise Art Center in Montana. Image Courtesy of Kéré Architecture Designed in collaboration with local architecture firm Gunnstock Timber Frames, the scheme is expected to open in the Summer of 2019. When completed, it will join the ranks of other noted architectural works across the Tippet Rise landscape, including several sculptural works by Ensamble Studios. News via: Tippet Rise Art Center
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| House in San Marino Funes Hills / Mariel Suárez Posted: 17 May 2018 06:00 AM PDT .jpg?1525777734 "© Ramiro Sosa") © Ramiro Sosa
.jpg?1525777516 "© Ramiro Sosa") © Ramiro Sosa Text description provided by the architects. The house is built around a void between volumes generated to force access to the house through a pedestrian path. By doing this, we create an open sky tour that prolongs the time and distance to get to the semi-covered gallery. .jpg?1525777789 "© Ramiro Sosa") © Ramiro Sosa The whole project is articulated around the void itself and its emptiness; the distribution of the interior spaces is a consequence of this decision. .jpg?1525777677 "© Ramiro Sosa") © Ramiro Sosa  Floor Plan Sketch .jpg?1525777708 "© Ramiro Sosa") © Ramiro Sosa We used brick for the walls and metallic profiles and corrugated sheet metal for the roof. We seek striking contrast between the rugged imperfection of the brick and the precise angles of the W-shaped metallic structure. .jpg?1525777773 "© Ramiro Sosa") © Ramiro Sosa The plan is mostly developed on the ground floor, with the exception of a studio in the upper level, with its balcony overlooking the living-room, creating a double height space. .jpg?1525777531 "© Ramiro Sosa") © Ramiro Sosa  Sections .jpg?1525777421 "© Ramiro Sosa") © Ramiro Sosa  This posting includes an audio/video/photo media file: Download Now |
| 61 Winners Announced for 2018 RIBA London Awards Posted: 17 May 2018 05:32 AM PDT  Sunderland Road / Levitt Bernstein. Image © Tim Crocker From a shortlist of 93 buildings, 61 London projects have been awarded the 2018 RIBA London Awards for architectural excellence, the city's most prestigious design honor. The winners include 14 housing schemes, 8 schools, and a city farm. All of these designs will be further considered for the RIBA National Awards, to be announced in June. The winners of the national award will then create a shortlist for the RIBA Stirling Prize – the highest award for architecture in the UK. The winners are as follows: 15 Clerkenwell Close / Amin Taha + Groupwork  15 Clerkenwell Close / Amin Taha + Groupwork. Image © Tim Saor 25 Savile Row / Piercy& Company _PRESSIMAGE_5.jpg?1526571169 "25 Savile Row / Piercy & Company. Image © Nick Hufton") 25 Savile Row / Piercy & Company. Image © Nick Hufton 53 Great Suffolk Street / Hawkins\Brown  53 Great Suffolk Street / HawkinsBrown. Image © Tim Crocker 70 Wilson / Astudio Ltd  70 Wilson / Astudio Ltd. Image © Will Pryce Abell and Cleland / DSDHA EPR Architects  Abell and Cleland / DSDHA . Image © Luca Miserocchi Alex Monroe Workshop / DSDHA  Alex Monroe Workshop / DSDHA. Image © Luca Miserocchi Belvue School Woodland Classrooms / Studio Weave  Belvue School Woodland Classrooms / Studio Weave. Image © Studio Weave Bethnal Green Memorial / Arboreal Architecture  Bethnal Green Memorial / Arboreal Architecture. Image © Marcela Spadaro Black Stone Buildings / 6a architects  Black Stone Buildings / 6a Architects. Image © Johan Dehlin Bloomberg, London / Foster + Partners  Bloomberg, London / Foster + Partners. Image © Nigel Young Brentford Lock West Block E / Mae with White Ink Architects and Claude Maguire  Brentford Lock West Block E / Mae. Image © Rory Gardiner Bridge Theatre / Haworth Tompkins  Bridge Theatre / Haworth Tompkins. Image © Philip Vile Caroline Place / Amin Taha + Groupwork  Caroline Place / Amin Taha + Groupwork. Image © Tim Saor Central Parade / Gort Scott  Central Parade / Gort Scott. Image © Dirk Lindner Chadwick Hall / Henley Halebrown  Chadwick Hall / Henley Halebrown. Image © Nick Kane Charles Dickens School / Maccreanor Lavington  Charles Dickens School / Maccreanor Lavington. Image © Tim Crocker Dartmouth Park House / AY Architects  Dartmouth Park House / AY Architects. Image © Anthony Boulanger De Beauvoir Block / Henley Halebrown  De Beauvoir Block / Henley Halebrown. Image © Nick Kane Faraday House / dRMM with Simpson Haugh  Faraday House / drMM. Image © French Tye Fitzrovia House / Carmody Groarke  Fitzrovia House / Carmody Groake. Image © Johan Dehlin Gasholder Park / Bell Phillips Architects  Gasholder Park / Bell Phillips Architect. Image © John Sturrock Gasholders London / Wilkinson Eyre with Jonathan Tuckey Design  Gasholders London / Wilkinson Eyre. Image © Peter Landers Gin Distillery / Open Practice Architecture  Gin Distillery / Open Practice Architecture. Image © Leon Chew Grange Primary School / Maccreanor Lavington  Grange Primary School / Maccreanor Lavington. Image © Tim Crocker Hackney Town Hall / Hawkins\Brown  Hackney Town Hall / Hawkins/Brown. Image © Siobhan Doran Hazelhurst Court / Levitt Bernstein  Hazelhurst Court / Levitt Bernstein. Image © Tim Crocker Ivydale Primary School / Hawkins\Brown  Ivydale Primary School / Hawkins/Brown. Image © Jack Hobhouse Kings Crescent Estate Phase 1 and 2 / Karakusevic Carson Architects and Henley Halebrown  Kings Crescent Estate Phases 1 and 2 / Karakusevic Carson Architects and Henley Halebrown. Image © Nick Kane Kingsgate Primary Lower School / Maccreanor Lavington Architects  Kingstate Primary Lower School / Maccreanor Lavington. Image © Tim Crocker Knox Bhavan Studio / Knox Bhavan Architects  Knox Bhaven Studio / Knox Bhavan Architects. Image © Dennis Gilbert Marlborough Primary School / Dixon Jones  Marlborough Primary School / Dixon Jones. Image © Paul Riddle No1 New Oxford Street / Orms  No1 New Oxford Street / Orms. Image © Timothy Saor R7, Kings Cross / Duggan Morris Architects with Weedon Architects  R7, Kings Cross / Duggan Morris Architects. Image © Jack Hobhouse Red House / 31/44 Architects  Red House / 31/44 Architects. Image © Rory Gardiner Riverlight / Rogers Stirk Harbour + Partners with EPR Architects  Riverlight / RSHP. Image © Anthony Coleman Royal Academy of Music – The Susie Sainsbury Theatre and The Angela Burgess Recital Hall / Ian Ritchie Architects Limited  Royal Academy of Music - The Susie Sainsbury Theatre and the Angela Burgess Recital Room / Ian Ritchie Architects Limited. Image © Adam Scott Royal Albert Wharf Phase 1 / Maccreanor Lavington  Royal Albert Wharf Phase 1 / Maccreanor Lavington. Image © Tim Crocker Salters Hall / De Metz Forbes Knight Architects  Salters Hill / De Metz Forbes Knight Architects. Image © Jack Hobhouse Sandringham Central at Sandringham Primary School / Walters & Cohen Architects  Sandringham Central at Sandringham Primary School / Walters & Cohen Architects. Image © RIBA Shaftesbury Theatre / Bennetts Associates  Shaftesbury Theatre / Bennetts Associates. Image © Peter Cook South Gardens / Maccreanor Lavington  South Gardens / Maccreanor Lavington. Image © Tim Crocker St Augustines Church / Roz Barr Architects  St Augustines Church / Roz Barr Architects. Image © John Maclean St James Market / Make Architects  St James Market / Make Architects. Image © Rory Gardiner Streatham and Clapham High School – Phase One and Two / Cottrell and Vermeulan Architecture  Streatham and Clapham High School Phase One and Two / Cottrell and Vermeulen Architecture. Image © Anthony Coleman Sutherland Road / Levitt Bernstein  Sunderland Road / Levitt Bernstein. Image © Tim Crocker The Bourne Estate / Matthew Lloyd Architects  The Bourne Estate / Matthew Lloyd Architects. Image © Benedict Luxmoore The Department Store / Square and Partners  The Department Store / Squire and Partners. Image © James Jones The Leadenhall Building / Rogers Stirk Harbour + Partners  The Leadenhall Building / RSHP. Image © Paul Raferty The Makers House / Liddicoat & Goldhill  The Makers House / Liddicoat & Goldhill. Image © Simon Watson The Sekforde / Chris Dyson Architects  The Sekforde / Chris Dyson Architects. Image © Peter Landers Turner's House / Butler Hegarty Architects  Turner's House / Butler Hegarty Architects. Image © Anne Purkiss University of Roehampton Library / Feilden Clegg Bradley  University of Roehampton / FCB Studios. Image © Hufton Crow Upper Richmond Road / Alford Hall Monaghan Morris  Upper Richmond Road / AHMM. Image © Timothy Saor VEX / Chance de Silva & Scanner  VEX / Chance de Silva & Scanner. Image © Helene Binet Victoria and Albert Museum Exhibition Road Quarter / AL_A  Victoria & Albert Museum Exhibition Road Quarter / AL_A. Image © Hufton Crow Victoria and Albert Museum Members' Room / Carmody Groarke  Victoria & Albert Museum Members' Room / Carmody Groarke. Image © Rory Gardiner Victoria Hall King's Cross / Stanton Williams  Victoria Hall King's Cross / Stanton Williams. Image © John Sturrock Walthamstow Wetlands / Witherford Watson Mann Architects  Walthamstow Wetlands / Witherford Watson Mann Architects. Image © Heini Shneebeli Waterloo Community Farm / Feilden Fowles Architects  Waterloo Community Farm / Feilden Fowles Architects. Image © Feilden Fowles Architects Weston Street / Alford Hall Monaghan Morris  Weston Street / AHMM. Image © Timothy Saor White Collar Factory Alford Hall Monaghan Morris  White Collar Factory / AHMM. Image © Timothy Saor Further Special Awards have been awarded to:
News via: RIBA  This posting includes an audio/video/photo media file: Download Now |
| Posted: 17 May 2018 04:00 AM PDT  © Luis Gallardo
 © Luis Gallardo Text description provided by the architects. We wanted to preserve the essence of the house as a typical dwelling example of the Polanco neighborhood, with a four-deck roof and a garden that surrounds and protects it from the street. In such way, potentializing local labor, workforce, materials and processes.  © Luis Gallardo  General Ground Floor  © Luis Gallardo Pujol, as one of the most important restaurants in Mexico, lead by chef Enrique Olvera, represented a huge challenge. We wanted to communicate an evolution rather than a simple swap from its previous location to the new one. It was not intended to deny the former Pujol, but instead, to take a series of concepts that characterized it, translate them to the new one and develop them to create a richer experience for the costumer.  © Luis Gallardo The guiding concept was to articulate a series of different spaces in a journey through different conditions of light, scale, privacy, visual and spatial integration and interior-exterior interaction. We found opportunities in the pre-existences, adapted them and integrated them by enlarging light inputs, eliminating physical barriers that isolated spaces from each other, and removing false ceilings to reinforce the horizontal character of the project, increasing height in some parts and lowering it in others. All of these actions were made with the intention to provide a round experience with a certain level of intimacy and neighborhood scale.  A Section  B Section A continuous indoors-outdoors relationship takes place and makes the customer interact with the outside in most of the spaces, either towards the gardens or towards the orchards. In addition, each space has different furniture arrangements to reinforce these experiences.  © Rafael Gamo  This posting includes an audio/video/photo media file: Download Now |
| Will Alsop: “That’s the Art of Architecture—Putting Everything Together in Your Own Way” Posted: 17 May 2018 02:30 AM PDT  Sharp Centre for Design at the Ontario College of Art and Design, 2004. Image Courtesy of aLL Design During my meetings with Will Alsop—two at his London studio in 2008 and 2010, and during our four-day trip to Moscow where I organized his lecture for SPEECH Magazine in winter 2011—he impressed me as having the most genuine, artistic, and free-spirited soul of all the architects I met. Calatrava, Hadid, and Gehry may strike one as great artists, but no matter how inventive they are, they are all involved in shaping buildings. Alsop, on the other hand, would find himself engaged in working in a completely boundless and unrestricted manner as a true artist. It seems that his whimsical works—"blobs and daubs," as he called them—are imagined as pure fantasies to be transformed into architecture much later by his staff. Eventually, he would have to "sell" them to his clients as buildings that function. Alsop's creations bring magic to the real world; they connect realities and dreams in the most fantastic ways. I never thought I would like his buildings though. I saw their renderings and photographs as cartoonish, until I visited them in person in London and Shanghai, among other places. Then my preconceptions dissipated. These structures make people feel happy and curious; they disarm the harshest critics and enrich our experiences. The following conversation with Alsop, who passed away on May 12 at age 70, is a condensed interview version based on two of our multi-hour meetings.  Peckham Library, 2000. Image Courtesy of aLL Design Will Alsop: ...I like to think that I don't have a particular style. I do very different things and in different ways. Some people say there is an Alsop style. It is an insult to me because I like to avoid it. I have gone away from the idea of what architecture should be. My job is to discover what architecture could be. And that voyage of discovery involves other people and I like working with people who live or work in the area of my projects to hand them the pencil or the paintbrush. Then you can have real fun trying to make sense of these engagements. Vladimir Belogolovsky: Your work is always different because the people with whom you interact are different. WA: That's right. Also, what I noticed is that the politicians, especially, often say that the people don't want change and that they always prefer the status quo. In my experience from working with people—this is not true. People embrace change and are becoming more and more comfortable with the idea that some of the new architecture is as good as some of the greatest monuments from the past. And sometimes it is even more interesting from the experiential point of view. Because of the plasticity of these new extraordinary spaces, new ways of achieving wonderful light, and a greater range of materials. You can make a very good, honest building with materials alone.  Carnegie Pavilion, Headingley, 2010. Image Courtesy of aLL Design VB: What is a good, honest building? WA: When it has a good quality of construction, good lighting, and particularly—paying attention to what is happening at the bottom, because that is what most people experience. If I were a politician, I would make a law in every city that everything from the ground to ten meters and higher should float and not touch the ground. You could still eat and drink at the ground level but there would be no buildings. The ground should be given to people and gardens, not buildings. It would make our cities much happier. Think of Le Corbusier's Unite d'Habitation in Marseilles, which is where I built my first elevated building, the Hotel du Departement.  Hotel du Departement, 1994. Image Courtesy of aLL Design VB: What kind of architecture do you envision in the future and what is your main ambition in life? WA: I don't think I can talk about the future because if I knew what it would be I would be doing it. We are locked into the age we live in. For example, many architects are preoccupied now with climate change and issues of sustainability and ecology, but that is just general awareness. It doesn't make architecture. It is important, but some architects market themselves as green architects. Well, we are too, but I want my clients to pick us for other reasons. You never pick an architect because he is good at plumbing. But when plumbing was first invented maybe there were architects who would say "we understand plumbing." In the future, I would like to see more sharing of ideas and on occasions, I would like the idea of working with other architects. And as far as ambition, I would like to do a hospital. I think hospitals should be beautiful so when you come out you would fall in love again.  Peckham Library, 2000. Image Courtesy of aLL Design VB: Do you think colors play a specific role in your work? WA: On one level, it cheers people up. There is nothing in architecture books that says it cannot be fun. I think color has a very direct effect on the way we behave and the way we feel. Colored glass casts colorful shadows. If there was no color in my buildings, it would be a completely different experience. Architectural critics think that fun and architecture don't go together. But I always ask why not? Where in the rule books does it say these things don't go together? The fun aspect of architecture is a very serious part of it. There is no right way to make architecture, and I think that is good. Our cities should have diversity. Uniformity makes life less interesting. It makes people bored. Architecture is not about just having a roof over your head, but about a feeling of belonging and feeling comfortable. Sometimes, it is very difficult to explain how to do that, but I have had people tell me that my buildings are very comfortable. They would come to me and ask, "How do you do that?" I don't know, and I don't want to know, because if I did, all the fun and exploration about making architecture would be destroyed. You have to have fate.  Chips Building, 2009. Image Courtesy of aLL Design VB: You once said: "Painting has helped me rediscover what architecture is and what it is not." How does painting help you to discover what architecture is? WA: I work on a very big scale, and when I paint, I try many things, and it may look like I am in control, but I am not. I discover things as I go. A painter has a mind of his own. I paint, I sit, I look, and my paintings often suggest what the next step is going to be. I never know for sure. I move from initial paintings that are very abstract and suggestive to paintings that are more specific. I don't know if my work can be called art. Some people like it. Some people don't like it. It doesn't matter. In more recent years, I began doing art for its own sake. The process of painting takes me away from myself. There are different ways to achieve that. Some people fiddle with pieces of paper; others play with small study models. In my case, it happens to be painting. What I don't like to do is to think my way into a solution. The idea of waiting for inspiration doesn't work. I need to try many things before I know what I want. And, again, I try to work on a big scale. To me, it is illogical to fit on a small piece of paper ideas of what the huge thing is going to be like.  A painting from Alsop's "Toronto Series". Image © Will Alsop VB: Do you allow other people to participate in your painting and design process, or is this very personal for you? WA: Sometimes, my work becomes eclectic, and a painting might become a collective work with different people reflecting on our discussions and ideas. In the very beginning, it is usually just me, and then, other people in the studio might contribute. VB: Contribute with words and comments or by adding bold colors to your canvas? WA: Sure, they paint over my work. That's fine.  Fawood Children's Centre, 2004. Image © Rod Coyne VB: Do you ever depict context in your paintings? WA: There is nothing more frightening than an empty canvas, so I like to put something there that has no meaning at all—just something to work with. I also have a studio in the country where I work on large pieces of paper. As I am working on one piece of paper, I have another piece on the floor. The things that drop—paint, charcoal, dust—start the next painting. This takes away my fear of the white empty page. Sometimes, I stand on a piece of paper. One of the reasons for painting is that you are not really in control of what you are doing, and that interests me a lot.  Colorium, 2001. Image Courtesy of aLL Design VB: Could you talk about how you won your Ontario College of Art and Design project in Toronto? WA: Their brief was very detailed. I read it on the plane on the way to my interview. It was really boring. Every room was prescribed, and all functions were listed in minute detail. So, I came for my interview and told those people that I read the brief, and I can't figure out how you know this is right and that this is what you really want. There were sixteen or seventeen people, and I said to them, "Put your hand up if you really believe in this brief." And only one person raised his hand. He was the guy who wrote it. So, I said, "Hmm... so you don't really believe in this brief?" At that point, I tore it up right in front of them and said, "Well, if you give me the job, here is what I would like to do—I want to work with the students, the neighborhood, and the staff, and we'll figure out what you want."  Sharp Centre for Design at the Ontario College of Art and Design, 2004. Image Courtesy of aLL Design VB: You said: "The problem of architecture is that architects think they have a responsibility to society and not to themselves. The architects must be selfish. Once this lesson is learned the architecture can begin." Could you elaborate? WA: I think this is true. Clearly, we architects have responsibilities. Most architects from around the world practice architecture with the best intentions to serve their society. Usually, the names of these architects are forgotten. But seriously, at least half of any architect's responsibility is to figure out who you are, because you didn't become an architect just to assemble different things. You didn't, or at least, I hope you didn't. Because you have an attitude, a view, and you have a sense of judgment. That's what you are trained to do, and that's what you have become. Therefore, the process of architecture-making is an act of selfishness. I like getting involved in various discussions, but, in the end, architecture must give me pleasure. It might give other people pleasure, as well. I don't know how it happens, but I know that many people like my buildings and enjoy being in them. I know, because many people have shared this with me. Architecture is the art of compromise, and therefore, the basis of the compromise must be strong. It can only be strong if you have the freedom to dream and not to conform to society's dreams.  Peckham Library, 2000. Image Courtesy of aLL Design VB: So, that's your answer—architects must be selfish. WA: I don't want to generalize, but I would say yes. Of course, purely selfish people are horrible, but you need to be selfish in terms of forming the work and making critical decisions. You can open up things to a debate, and you can enjoy it and learn from it, but there comes a point when it is you, the architect, who must make a decision. That's the art of architecture—putting everything together in your own way.  Colorium, 2001. Image Courtesy of aLL Design VLADIMIR BELOGOLOVSKY is the founder of the New York-based non-profit Curatorial Project. Trained as an architect at Cooper Union in New York, he has written five books, including Conversations with Architects in the Age of Celebrity (DOM, 2015), Harry Seidler: LIFEWORK (Rizzoli, 2014), and Soviet Modernism: 1955-1985 (TATLIN, 2010). Among his numerous exhibitions: Anthony Ames: Object-Type Landscapes at Casa Curutchet, La Plata, Argentina (2015); Colombia: Transformed (American Tour, 2013-15); Harry Seidler: Painting Toward Architecture (world tour since 2012); and Chess Game for Russian Pavilion at the 11th Venice Architecture Biennale (2008). Belogolovsky is the American correspondent for Berlin-based architectural journal SPEECH and he has lectured at universities and museums in more than 20 countries. Belogolovsky's column, City of Ideas, introduces ArchDaily's readers to his latest and ongoing conversations with the most innovative architects from around the world. These intimate discussions are a part of the curator's upcoming exhibition with the same title which premiered at the University of Sydney in June 2016. The City of Ideas exhibition will travel to venues around the world to explore ever-evolving content and design.  This posting includes an audio/video/photo media file: Download Now |
| Topping Rose House / Roger Ferris + Partners Posted: 17 May 2018 02:00 AM PDT  © Paul Rivera
 © Paul Rivera Text description provided by the architects. Topping Rose House, located on a prominent three-acre site at the main street intersection of downtown Bridgehampton, has always been a focal point of the celebrated East End village. Carefully restored and adapted for use as a restaurant and inn, the main building is one of the most significant historic houses in the area. One of the primary challenges of the project was how to respond to the abundant local colonial architecture while integrating in the two new contemporary additions to the property.  Site Plan After considerable study and dialogue, it was determined that in a small-town such as this, intent on conserving its historic heritage, the design would need to reflect the current time and place while simultaneously acknowledging the scale, rhythm and history of the surrounding local architecture. Instead of conforming to a traditional style, it required developing a locally appropriate language for the contemporary buildings that reinvigorates the area, embraced not only by the local community, but also New York City and the surrounding areas.  © Paul Rivera Inspiration was drawn equally from the thriving local arts community, the client's vision for the property and the existing historic site and structures. One of two new contemporary structures, the Studio provides a contemporary event space for business functions or private parties with guest suites upstairs and spa facilities below. The other new contemporary structure is the Cottage complex which consists of four independent buildings containing guest suites with private terraces and roof gardens, and a fitness center.  © Paul Rivera The objective was to create compelling new architecture in a harmonious composition of buildings to draw guests to enjoy experiences ranging from private dinners and lodging to large social events and business functions, and to support all of these activities with the same facility and resources throughout the year whether in high season summer months or off season.  First Floor Composite Plan The solution includes a seamless connection between interior spaces and the surrounding site. The layering of western red cedar louvers over glass sliding doors in the new buildings provides diffuse daylighting of interior spaces while providing privacy and controlled views of the landscaped site. The wood louvers filter sunlight in the warmer months while allowing light to reach deep indoors during the cooler months.  © Paul Rivera  This posting includes an audio/video/photo media file: Download Now |
| 7 Architects Create 7 New Community Spaces Beneath a Disused Japanese Overpass Posted: 17 May 2018 01:00 AM PDT  © Laurian Ghinitoiu A +100 meter stretch of land beneath a train overpass in Koganecho, a district of Yokohama, Japan, underwent a progressive refurbishment in which seven different types of community space, each designed by a different architect, were built within a pre-set spatial grid. Historically there were many social issues in the area, largely in relation to its profitable but dangerous black market and red-light district. Once the illegal activity was eradicated in 2005, the underpass presented a great opportunity for social re-development, and the resultant project - the Koganecho Centre - emphasized an age-old Japanese cultural commitment, where what was once broken is used to make something new.  © Laurian Ghinitoiu An art gallery, a cafe, a library, an artist's studio, a meeting space, a workshop and an open-air piazza were designed by Contemporaries, Studio 2A, SALHAUS, Workstation, Koizumi Atelier, Sogabe Laboratory-Kanagawa University+matidesign, Nishikura Architectural Design Office respectively. The resultant eclectic aesthetic was inevitable, and therefore the role that the existing overpass's heavy columns play in mediating each design cannot be understated.  © Laurian Ghinitoiu  © Laurian Ghinitoiu  © Laurian Ghinitoiu The interaction between said structure and the architecture varies throughout the project; being simultaneously enveloped, clad, exhibited and wrapped at various moments; generating a dynamic yet shared typology as you walk through each building. The use of welcoming materials, such as wood, glass and pale concrete, has helped remold the perception of Koganecho, drawing back the community to fully utilize the new spaces.  © Laurian Ghinitoiu
 © Laurian Ghinitoiu The Koganecho Centre creates a platform of conversation between the artists who are granted the space and the community who live around it, successfully re-functionalizing the land through precise and well researched spatial planning, creating a precedent for future community-centric refurbishments.  © Laurian Ghinitoiu  © Laurian Ghinitoiu  © Laurian Ghinitoiu  © Laurian Ghinitoiu  © Laurian Ghinitoiu  © Laurian Ghinitoiu  © Laurian Ghinitoiu  © Laurian Ghinitoiu  © Laurian Ghinitoiu  © Laurian Ghinitoiu  © Laurian Ghinitoiu  This posting includes an audio/video/photo media file: Download Now |
| Kjellander+Sjöberg Wins Competition For a New Sustainable Landmark in Sweden Posted: 16 May 2018 11:00 PM PDT  Courtesy of Kjellander Sjoberg Kjellander+Sjöberg Architects have won the competition for Nacka Port, a new sustainable and dynamic urban block. The award-winning architecture firm, which is one of the leading architectural offices in Scandinavia will build the project in an area between Nacka and Stockholm, Sweden. Out of the three architecture offices who were invited to compete, the latter being held in discourse with the Nacka Municipality and Architects Sweden, Kjellander Sjöberg's proposal contributes to a "vibrant urban context with an inviting and varied program."  Courtesy of Kjellander Sjoberg Nacka Port is an urban area situated between Sickla köpkvarter, a commercial center, and the district of Hammarby Sjöstad, an area with old industrial buildings and an archipelago environment. The competition program highlighted the importance of the project's context and called for a solution to how experiences can be created and valued. The proposed building has the ability to reinforce the identity, routes, and nodes of the region as well as expand the connections within the area's setting.  Courtesy of Kjellander Sjoberg
 Courtesy of Kjellander Sjoberg The project is a three-dimensional urban block with a series of flexible and open squares, diagonally placed on site. In addition to their varying characteristics, these squares are placed facing the nearby traffic, attracting residents and initiatives by markets and open-air cafes. The area surrounding the block provides open spaces where pedestrians and cyclists can visit. In addition, a unified volume towards the southwest is divided into two towers of different heights. The squared recessions formed by the staggered facades of the towers create private and communal terraces ideal for greenery. The structure is mainly designed to provide distinct impressions from different angles and directions, creating a "three-dimensional fluid experience".  Nacka Port Section AA  Nacka Port Section BB
Commissioned by Nacka Port AB, the project's planning process has already begun, seeking an official binding development in 2020. The Nacka Port's main concept is to have a "positive vision of the future" creating a suitable life for both humans and the planet. Focusing on the ecosystem services, the architecture is carbon positive, created with renewable material and a healthy micro-climate. Kjellander Sjöberg's Nacka Port will be an urban and sustainable block which connects and creates a viable lifestyle. News via: Kjellander Sjöberg.  This posting includes an audio/video/photo media file: Download Now |
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